混沌美学——浅析藏密曼陀罗在现代艺术设计中的应用  

Chaos Aesthetics—Analysis on the Application of Tibetan Mandalas in Modern Art Design

作　　者：周文静 

机构地区：[1]扬州大学外国语学院,江苏 扬州

出　　处：《Design（汉斯）》2023年第4期3524-3530,共7页设计（汉斯）

摘　　要：随着物质生活质量的不断提高,精神维度的陶冶日渐成为大众生活的另一个主要目标。基于此,宗教的文化与艺术设计也开始普遍跃入人们的视域,其中有关藏密曼陀罗的艺术设计尤为常见且具有代表性。曼陀罗常指一种花的学名,同时也特指宗教中复杂而神秘的符号。心理学家荣格认为藏密曼陀罗是一种具有绝对中心的圆形或方形以及一切辐射状或球状的排列组合。曼陀罗图形不仅常出现在寺院建筑布局上,还日渐显现在现代化艺术设计当中,并迸发出崭新的活力与生机。再者,藏密曼陀罗不断分形而自相似的构型正完美诠释了混沌学的表征,本文就将借用混沌理论的相关概念探索藏密曼陀罗所反映出的混沌美学特征,得出将它的装饰性图案、空间构型以及混沌哲学应用于现代艺术设计中的具体思路。With the continuous improvement of the material quality of life, the cultivation of spiritual dimension has gradually become another major goal of public life. Based on this, religious culture and artistic design have also generally begun to jump into people’s vision, among which the art design of Tibetan mandalas is particularly common and representative. The mandalas often re-fers to the scientific name of a flower, but also be defined as a complex and mysterious symbol in religion. The psychologist called Carl Jung regards Tibetan mandalas as a circle or square with an absolute center and any arrangement of radial or spherical shapes. Mandala graphics not only often appear in the temple building layout, but also increasingly emerge in modern clothing design, bursting out the gushing vitality. It is remarkable that the configuration of continuous fractal and self-similar Tibetan mandalas perfectly interprets the representation of chaos. This paper will use the relevant concepts of chaos theory to explore the aesthetic characteristics of chaos reflected in Tibetan mandalas and the concrete ideas of applying its decorative patterns, spatial configuration and chaos philosophy into modern art design.

关 键 词：混沌 藏密曼陀罗 现代艺术设计 

分 类 号：J50[艺术—艺术设计]